NiTRO Creative Matters

Perspectives on creative arts in higher education

Real-World Creative Learning: Embedding Arts Curricula in Festivals and Exhibitions

By Dr Sue Gillett — The current trend in Australian universities has seen the proportion of enrolments in Arts subjects declining over the last decade, with regional universities and campuses more significantly affected.


“Quilted Ned”, by Exhibiting Culture student, Helen Hindson exhibited at the Shepparton Festival 2016. The work was  inspired by the Sidney Nolan painting titled “Quilting the Armour” (1947) which was on display during the Imagining Ned exhibition, Bendigo Art Gallery, 2015. Photo credit: Sue Gillett

According to the 2015 Mapping the Humanities, Arts and Social Sciences in Australia report “entry scores are dropping and numbers declining in HASS programmes in regional universities.” (Dobson 2015, Executive Summary, p. 2). The report also notes that regional campuses are reducing the range of Arts disciplines, which raises concerns about the equality of opportunities for regional students. Aiming to re-energize Arts offerings, especially in the regional campuses, I began in 2012 to design a new, flexible curriculum model which provides an immersive learning experience focused on the creative arts industry and practices. To date this model is applied to four subjects delivered in second and third years of the Bachelor of Arts and Creative Arts degrees at La Trobe University: Writers in Action: Writing the Festival and Exhibiting Culture.

Consistent with the ‘place-based’ experiential underpinnings of the model, the student experience in these subjects is immersive and embedded in Creative Arts events where the event itself is at the core of the curriculum. In Writers in Action: Writing the Festival,  regional writers’ festivals frame the learning experiences, while in Exhibiting Culture students’ experiences are shaped by active participation in an exhibition located in a regional art gallery. This curriculum model engages students in learning activities that are based on participation in the festival or exhibition event, and assessment is aimed at heightening awareness of processes and practices in the Arts that support public dissemination of these activities. Learning activities and assessment are therefore adaptive and context-specific. The role of the teacher is largely to facilitate students’ engagement with the event and support them to interpret it and understand how it operates. In this framework, students spend the majority of their time in the subject located at the event, with more formal classroom based activities and practicums delivered in ‘block mode’ to accommodate the event itself.

This curriculum model engages students in learning activities that are based on participation in the festival or exhibition event, and assessment is aimed at heightening awareness of processes and practices in the Arts . . .

Writers in Action embeds students in the real-world daily creative tasks required to run a festival. I encourage students to think about the subject as a writing adventure. They think about the type of project they would like to pursue in relation to the range of professional and creative writing activities that a festival generates, celebrates and needs. I also liaise with festival staff and the local media to find potential projects for the students and to establish links between the students and these professionals involved in promoting and running the festival. From year to year previous Writers in Action students elect to mentor current students, adding another bonus through peer learning.






 <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="false"
DefSemiHidden="false" DefQFormat="false" DefPriority="99"

Exhibiting Culture Students students reporting on the Ink Remix exhibition in the Bendigo Art Gallery, 2015. Photo credit: Shane Carey.

Three words stand out in the consistently positive student evaluations of these festival-based subjects: challenge, opportunities and experience. The same is true of students’ responses to the gallery-based subject, Exhibiting Culture. Students highly value the experiential elements of the learning offered, highlighting learning from peers which is encouraged in the subjects; meeting personal and career needs; and challenging and stimulating on-going learning. As with Writers in Action, project-based student assessment provides an opportunity for students in Exhibiting Culture to produce a creative response, this time in relation to an art exhibition rather than a writers’ festival, and to have their creations displayed in a mixed-media student exhibition which I curate after subject assessments have concluded.

The student exhibition is additional to their assessment requirements and students can opt-in. Most do. To date we have held two student exhibitions – “Re-Imagining Ned” (which responded to the Imagining Ned exhibition in Bendigo Art Gallery, 2015) and “Ink Remixed” (a response to the exhibition of Contemporary Art from China, Taiwan and Hong Kong, also at the Bendigo Art Gallery, 2016). The latter exhibition was visited by a delegation from the Confucius Institute, who sent the following words of commendation: the students’ exhibition embodied the bold, lively spirit of Chinese-Australian heritage. Each artwork provided a special peek into the artist’s creative soul. “Re-Imagining Ned” was picked up by the Shepparton Festival and re-exhibited there in March this year. This recognition of the quality of students’ work by industry leaders and the public was a great confidence booster, and also enriched their experience of the art circuit.

A key aim of this curriculum model in Writers in Action and Exhibiting Culture is to support students to enter work in the arts and creative arts sectors. . . students have achieved employment, valuable work related experiences, including internships, and public exposure via publications as artists. .

A key aim of this curriculum model in Writers in Action and Exhibiting Culture is to support students to enter work in the arts and creative arts sectorsOngoing analysis of students’ public achievements resulting from their participation in these subjects has identified a range of awards and publications, from 2013-2016, either while enrolled in the subjects, or subsequently. As the table (right) shows, students have achieved employment, valuable work related experiences, including internships, and public exposure via publications as artists as a result of their engagement in the subjects. These outcomes are the directly linked to students having been given the chance to demonstrate their competencies to industry, while also gaining credit points towards their Arts or Creative Arts degrees.

Dr Sue Gillett is a senior lecturer in Humanities and Social Sciences at La Trobe University. She is the author of Views from beyond the mirror, the films of Jane Campion (2004), Cassandra in Red (2013) and Landlines: an anthology of regional poets (editor, 2012). Her most recent publications include a memoir-essay in Mothers in Others (Pan MacMillan, 2015) and a chapter on poetry, grief and healing in Poetry and the Trace (Puncher & Wattman, 2013). In recognition of the value of the curriculum model described in this article, Sue received a National Citation for Outstanding Contributions to Student learning in 2016.

OUTCOMES : Measures of student success No. of students
Publications in regional newspapers 64
Paid employment in the Arts, Media and Comms fields 15
Internships with media and festival organisations 15
Awards for writing 12
Volunteering with Galleries and Festivals 3
Involved in exhibitions of their work, either in group shows or solo shows 54
Stories published on the ABC Open website 8
Selected to exhibit at the Castlemaine State Festival 3
Employment as the official Writers Festival photographer 2
A Television screening of the half-hour film, created as assessment project in Writers in Action, (channel 31). 10
10 minute student-made documentary of Mildura Writers Festival being used as promotional material on festival website. 2

More from this issue

More from this issue

By Su Baker, President, Australian Council of Deans and Directors of Creative Arts — In this issue of NiTRO we ask how well are we connecting the academy with artist practice outside the Citadel. How well are we preparing our students and how do we support our colleagues in their core career aspirations, that in most cases will be outside the university and educational context? 
By Dr Jenny Wilson — In his 1999 book, Art Subjects, Howard Singerman saw the university as ‘a crucial structuring site where artists and art worlds are mapped and reproduced'.  University teaching, research and engagement agenda and the strategies that are adopted serve to enhance or restrict how its artists, staff and students, connect with and advance their genres and professions.
By Arun Sharma — Creative and performing arts disciplines are at an interesting juncture. After decades of concern about lack of funding, and about being sidelined in favour of the STEM disciplines, there may be some positive signals.  The question is whether these disciplines are ready for the opportunities emerging from these signals.
By Malcolm Gillies — Sitting on my shelf for the last eighteen years has been a copy of "The Strand Report".  Dennis Strand's excellent work was for a project overseen by the Head of the Canberra School of Art, David Williams, and chaired by Peter Karmel, a leading economist and former vice-chancellor of the ANU.  It was the first coordinated attempt to bring together the full range of visual and performing artists to address how they might better fit in with the developing research expectations of the National Unified System. 
By Tamara Winikoff OAM — Earlier this year ArtsHub, published an article by National Association for the Visual Arts (NAVA) CEO Tamara Winikoff on the changes in art schools following the Dawkins amalgamations.  It collated views and experiences of those currently working in the university sector and provides a useful starting point to consider how contemporary universities are influencing artistic practice.  With the permission of NAVA and Arts Hub the article is republished below and has been updated by Tamara for NiTRO.
By Eileen Siddins and Ryan Daniel — As Bourdieu describes in his text ‘Firing Back’, the modern world has moved into a work situation dominated by employment precariousness, constant insecurity and downsizing to increase profits and therefore shareholder return. While artists have in general faced employment stresses for centuries, the impact of the broader economic move towards dominant players and markets is affecting the art world as well.
By Associate Professor Vanessa Tomlinson — The second Australia Percussion Gathering, directed by Associate Professor Vanessa Tomlinson alongside advisors Tom O'Kelly, Dr. Louise Devenish and Francois Combemorel was held at Queensland Conservatorium, Griffith University in July 2016. Sitting somewhere between a music festival, a conference and a music camp, the six day event brought together industry professionals, international guests, and an impressive 96% of all students studying percussion in tertiary institutions in Australia.
by Ian Haig — The status of the Avant grade has now been systematized into what Dave Hickey calls the ‘therapeutic institution' – a self-propagating structure of academics, curators, critics and artists proclaiming arts goodness for the world.
By Dr Peter Knight — The relationship between academia and artistic practice is in flux, and in my view that's one of the reasons why the space in which they meet is an exciting place to be working. I undertook two postgraduate degrees in music both of which had an emphasis on practice-based approaches.
By Professor Clive Barstow and Dr Jenny Wilson — On the eve of his 25th anniversary of his emigration to Australia, Jenny Wilson talks to artist and academic Clive Barstow about his reflections on arts education.
By Dr Linda Ludwig — The Symposium at the FHNW Academy of Art and Design in Basel – introduced by Carla Delfos from the European League of the Institutes of the Arts – brought together methodological reflections on research in the arts with recent activities from researchers in the field. It was goal of the Symposium to discuss how art and design generates knowledge that is of relevance to society.
By Professor Pamela Burnard — Why is it an imperative for arts institutions and academies to identify creative teaching in relation to creative learning as a vital way of addressing the politics of higher education? What is it about creative teaching in relation to creative learning that offers new priorities, new narratives, new forms of knowledge, new ways of ‘knowing how to speak' and ‘knowing how to hear' for creative teachers, artists and artist scholars?